Bronwyn Nayler describes herself as “a director, deviser, teacher and performer”. Bronwyn is the director of Octopolis by Marek Horn, which will make its Australian independent premiere at PIP Theatre in May 2025, presented by Observatory Theatre.
How did you become involved with this production?
Observatory Theatre invited me to direct this brand-new challenging play, and I was very excited for this project.
How would you describe Octopolis?
Octopolis is a weird and wonderful play that asks of its audience to journey through some big themes and ideas – with an octopus no less – with much humour, intelligence and provocation.
This is the Australian independent premiere of the play, which is from a UK playwright. Do you feel this play is especially relevant to a particular time or place?
The play speaks to the now in a universal sense. It was written by Marek Horn, a UK playwright, but apart from a couple of UK-specific references it reads and speaks to any place in time, in any language.
What has been your approach to directing this work?
With any play there are different sets of demands placed on the director to bring the text to life. Because of the style, content and the fact that it is a two-hander, my approach to directing this play has been one of exploration and discovery, with a sense of “let’s play!”.
Octopolis is narrated from the present by the two characters that inhabit the world of the play – much like Tennessee Williams’ memory plays like The Glass Menagerie – about past events. As a result, we have decided on a minimalist set with no props and privileging lights, sound and projections, and of course the closely observed and detailed work of our very talented hard-working actors, to tell the story. As a memory play, I felt the scenography should reflect an impressionistic state that represents what is remembered in the narration. Hence, time and place are often blurred.
Do you have any particular hopes for how it will be received, or what kind of post-show conversations it might start?
I hope it will be received with thunderous applause! Seriously, I hope it brings joy to our audiences as they follow the characters’ intellectual, philosophical, and emotional journeys. I hope the play opens up discussions on any one of the big ideas – how do humans navigate animal sentience and what can be learned or shared between species? Or how do humans manage the fragility between religion and science? How do we love and connect? How do we deal with grief, isolation, loneliness…and how does one octopus, called Frances, manage to ignite such discussions?!
What has been the biggest challenge and the biggest reward for you, working on this show?
With no props, minimal set, no costume changes, an octopus to be represented somehow onstage, and a very dense text, I have definitely been challenged by the staging. The multi-layered nature of the play, complexity of characters, and the research we all conducted into the many intellectual discussions has given me, cast, and creatives a great sense of adventure in the discoveries we have made. The performances will be the ultimate reward.
What should an audience expect from Octopolis? Who do you think will enjoy it, and why?
Octopolis will appeal to audience members who like to laugh, think, reflect, and contemplate ideas. Those who will not feel overwhelmed by ambiguity and who enjoy stories that are smart and sophisticated in a weird, wonderful, engaging way!
Read more about Octopolis here
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